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TOM WESSELMANN (1931-2004)

 
<div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div> <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div> <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div> <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div> <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div> <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div> <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div> <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div> <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div> <div>Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair.<br><br><br><br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.</div>
Raucher Nr. 21197574 1/2 x 67 1/2 Zoll.(189,23 x 171,45 cm) Öl auf geformter Leinwand
Provenienz
Nachlass des Künstlers
Robert Miller Galerie, New York
Privatsammlung, Japan, erworben von der oben genannten Person, 2006
Privatsammlung von Yusaku Maezawa, Japan, erworben von den oben genannten, 2012
Sotheby's New York: Contemporary Art Evening Sale, 18. Mai 2017, Los 28
Privatsammlung, erworben aus dem oben genannten Verkauf
Christie's London: 20th/21st Century Evening Sale, Dienstag, 28. Juni 2022, Los 73
Heather James Bildende Kunst
Privatsammlung, erworben von der oben genannten Person
Ausstellung
New York, Sidney Janis Gallery, Neue Malerei...Mehr.....s von Tom Wesselmann, April-Mai 1976, Nr. 9
...WENIGER.....
Fragen Sie

 

"Ich war fasziniert von Rauch und der Annäherung an den Mund. Ich habe die Mundbilder nicht begonnen, um erotisch zu sein. Ich habe sie begonnen, um einfach nur einen Mund darzustellen, das ist alles. - Tom Wesselmann

Geschichte

Nachdem er sich unwissentlich in das Gespräch über Pop Art mit seinem Großen Amerikanischen Akt Serie unwissentlich in die Pop-Art-Diskussion eingebracht hatte, erklärte Tom Wesselmann für den Rest seiner Karriere, dass es ihm nicht darum ging, sich übermäßig auf ein bestimmtes Thema zu konzentrieren oder einen sozialen Kommentar abzugeben, sondern dem, was ihn am meisten erregte, eine Form zu geben, die schön und aufregend war. Seine Serie der körperlosen Münder aus dem Jahr 1965 zeigte, dass ein Bild nicht auf fremde Elemente angewiesen sein muss, um Bedeutung zu vermitteln. Doch erst die Smoker-Serie mit ihrer verführerischen, fetischhaften Anziehungskraft verhalf ihm zu einem höheren Ansehen bei den wahren Sybariten. Abgesehen davon, dass Rauchen als cool und chic empfunden wird, ist ein Gemälde wie Smoker #21 die vollendete Feier von Wesselmanns Fähigkeiten als Maler. Vom wogenden Rauch angezogen, gab sich Wesselmann große Mühe, seine gewundenen Bewegungen genau darzustellen und die kurzen Pausen zu beobachten, die seine Wertschätzung für die sinnliche Natur des Rauches noch verstärkten. Wie alle großformatigen Werke Wesselmanns hat auch Smoker #21 die beeindruckende Präsenz eines Altarbildes. Es entstand in stundenlanger Arbeit in seinem beeindruckenden Atelier am Cooper Square in Manhattan, und das Ergebnis ist von schwüler Dynamik - beschwörend, sinnlich, verführerisch, glatt, üppig und vielleicht sogar unheimlich - ein Gemälde, das seine grafische Souveränität und seinen starken Realismus zur Schau stellt, garniert mit seinem patentierten Sex-Appeal-Flair.

Quelle: Bilder

Tom Wesselmann knüpft an den Erfolg seines Buches Großen Amerikanischen Akte aus, indem er sich auf einzelne Merkmale seiner Motive konzentrierte und 1965 mit seiner Mouth-Serie begann. 1967 machte Wesselmanns Freundin Peggy Sarno eine Zigarettenpause, während sie für Wesselmanns Mouth-Serie Modell stand, und inspirierte ihn zu seinen Smoker-Bildern. Die Rauchschwaden waren schwierig zu malen und erforderten, dass Wesselmann Fotografien als Ausgangsmaterial benutzte, um die flüchtige Natur des Rauchs richtig einzufangen. Die Bilder hier zeigen Wesselmann, wie er seine Freundin, die Drehbuchautorin Danièle Thompson, fotografiert, während sie für einige von Wesselmanns Bildvorlagen posiert.

"Ich merke, dass ich manchmal so aufgeregt bin, wenn ich arbeite, vor allem, wenn ich neue Ideen habe; ich bin so aufgeregt, dass ich mich unwohl fühle. Es fühlt sich fast gefährlich an, als würde ich mit etwas Gefährlichem flirten." - Tom Wesselmann

Spitzenergebnisse bei Auktionen

Öl und Collage auf Leinwand, Acryl und Collage auf Karton, emaillierter Heizkörper und Assemblage, 84 x 106 Zoll. Verkauft bei Sotheby's New York: 14. Mai 2008.

"Great American Nude no. 48" (1963) wurde für 10.681.000 $ verkauft.

Öl und Collage auf Leinwand, Acryl und Collage auf Karton, emaillierter Heizkörper und Assemblage, 84 x 106 Zoll. Verkauft bei Sotheby's New York: 14. Mai 2008.
Acryl auf Leinen, 83 x 89 1/2 Zoll. Verkauft bei Christie's New York: 13. Mai 2008.

"Smoker #9" (1973) wurde für 6.761.000 $ verkauft.

Acryl auf Leinen, 83 x 89 1/2 Zoll. Verkauft bei Christie's New York: 13. Mai 2008.
Öl auf geformter Leinwand, 96 x 131 Zoll. Verkauft bei Sotheby's New York: 15. Mai 2007.

"Smoker #17" (1973) wurde für 5.864.000 $ verkauft.

Öl auf geformter Leinwand, 96 x 131 Zoll. Verkauft bei Sotheby's New York: 15. Mai 2007.

Vergleichbare Gemälde bei einer Auktion verkauft

Acryl auf Leinen, 83 x 89 1/2 Zoll. Verkauft bei Christie's New York: 13. Mai 2008.

"Smoker #9" (1973) wurde für 6.761.000 $ verkauft.

Acryl auf Leinen, 83 x 89 1/2 Zoll. Verkauft bei Christie's New York: 13. Mai 2008.
Öl auf geformter Leinwand, 96 x 131 Zoll. Verkauft bei Sotheby's New York: 15. Mai 2007.

"Smoker #17" (1973) wurde für 5.864.000 $ verkauft.

Öl auf geformter Leinwand, 96 x 131 Zoll. Verkauft bei Sotheby's New York: 15. Mai 2007.
Öl auf geformter Leinwand, 96 7/8 x 66 1/2 Zoll. Verkauft bei Sotheby's London: 08. März 2017.

Smoker #5 (Mouth #19) (1969) wurde für 4.703.900 $ verkauft.

Öl auf geformter Leinwand, 96 7/8 x 66 1/2 Zoll. Verkauft bei Sotheby's London: 08. März 2017.

Gemälde in Museumssammlungen

Museum für Moderne Kunst, New York

"Raucher, 1 (Mund, 12)" (1967) Öl auf Leinwand, 108 7/8 x 85 Zoll.

Kunstinstitut von Minneapolis

"Mund #10" (1967), Öl auf Leinwand, 119 x 106 1/2 Zoll.

Dallas Museum of Art

"Mund #11" (1967), Öl auf Leinwand, 68 x 152 Zoll.

High Museum of Art, Georgia

"Mund #15" (1968), Öl auf Leinwand, 68 x 91 Zoll.

Crystal Bridges Museum für amerikanische Kunst, Arkansas

"Raucher #9" (1973) Acryl auf Leinen, 83 x 89 1/2 Zoll.

Cranbrook-Kunstmuseum, Michigan

"Raucher #18" (1975), Öl auf Leinwand, 89 3/4 x 91 3/4 Zoll.

Nasjonalmuseet, Norwegen

"Raucher #24" (1976), Öl auf Leinwand, 80 11/16 x 79 1/2 Zoll.

Museum für Kunst und Design der Präfektur Toyama, Japan

"Raucher #26" (1978), Öl auf Leinwand, 96 x 106 Zoll.
"Ich stelle Akte nicht aus soziologischen, kulturellen oder emotionalen Absichten heraus dar. Meine einzige Absicht ist es, immer wieder neue Wege zu finden, um aus der Situation des traditionellen Aktes spannende Bilder zu machen." - Tom Wesselmann

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